On a Chinese Screen & The Land of the Blessed Virgin (A Collection of Travel Sketches & Articles). Уильям Сомерсет Моэм
to the cathedral. The canons in the choir still droned their chant in praise of the Blessed Virgin, and in the greater darkness the altar shone more magnificently. The same procession filed through the nave, some priests were in black, some in violet, some in the Virgin's colours; but this time the archbishop wore gorgeous robes of scarlet, and as he knelt at the altar his train spread to the chancel steps. From the side appeared ten boys and knelt before the altar, and stood in two lines facing one another. They were dressed like pages of the seventeenth century, with white stockings and breeches, and a doublet of blue and silver, holding in their hands hats with long feathers. The archbishop, kneeling in front of the throne, buried his face in his hands.
A soft melody, played by violins and 'cellos, broke the silence, and presently the ten pages began to sing:
Los cielos y la tierra alaben al Señor
Con imnos de alabanza que inflamen al Señor.
It was a curious, old-fashioned music, reminding one a little of the quiet harmonies of Gluck. Then, putting on their hats, the pages danced, continuing their song; they wound in and out of one another, gravely footing it, swaying to and fro with the music very slowly. The measure was performed with the utmost reverence. Now and then the chorus came, and the fresh boys' voices, singing in unison, filled the church with delightful melody. And still the old archbishop prayed, his face buried in his hands.
The boys ceased to sing, but continued the dance, marking the time now with castanets, and the mundane instrument contrasted strangely with the glittering altar and with the kneeling priests. I wondered of what the archbishop thought, kneeling so humbly—of the boys dancing before the altar, fresh and young? Was he thinking of their white souls darkening with the sins of the world, or of the troubles, the disillusionments of life, and the decrepitude? Or was it of himself—did he think of his own youth, so long past, so hopelessly gone, or did he think that he was old and worn, and of the dark journey before him, and of the light that seemed so distant? Did he regret his beautiful Seville with the blue sky, and the orange-trees bowed down with their golden fruit? He seemed so small and weak, overwhelmed in his gorgeous robes.
Again the ten boys repeated their song and dance and their castanets, and with a rapid genuflection disappeared.
The archbishop rose painfully from his knees and ascended to the altar. A priest held open a book before him, and another lighted the printed page with a candle; he read out a prayer. Then, kneeling down, he bent very low, as though he felt himself unworthy to behold the magnificence of the Queen of Heaven. The people fell to their knees, and a man's voice burst forth—Ave Maria, gratia plena; waves of passionate sound floated over the worshippers, upwards, towards heaven. And from the Giralda, the Moorish tower, the Christian bells rang joyfully. The archbishop turned towards the people; and when in his thin, broken voice he gave the benediction, one thought that no man in his heart felt such humility as the magnificent prince of the Church, Don Marcelo Spinola y Maestre, Archbishop of Seville.
The people flocked out quickly, and soon only a few devout penitents remained. A priest came, waving censers before the altar, and thick volumes of perfume ascended to the Blessed Virgin. He disappeared, and one by one the candles were extinguished. The night crept silently along the church, and the silver image sank into the darkness; at last two candles only were left on the altar, high up, shining dimly.
Outside the sky was still blue, bespattered with countless stars.
Note.—I believe there is no definite explanation of this ceremony, and the legend told me by an ancient priest that it was invented during the Moorish dominion so that Christian services might be held under cover of a social gathering—intruding Muslims would be told merely that people were there assembled to see boys dance and to listen to their singing—is more picturesque than probable. Rather does it seem analogous with the leaping of David the King before the Ark of Jehovah, when he danced before the Lord with all his might, girt with a linen Ephod; and this, if I may hazard an opinion, was with a view to amuse a deity apt to be bored or languid, just as Nautch girls dance to this day before the idols of the Hindus, and tops are spun before Krishna to divert him.
XIX
The Giralda
The Christian bells rang joyfully from the Moorish tower, the great old bells christened with holy oil, el Cantor the Singer, la Gorda the Great, San Miguel. I climbed the winding passage till I came to the terrace where stood the ringers, and as they pulled their ropes the bells swung round on their axles, completing a circle, with deafening clamour. The din was terrific, so that the solid masonry appeared to shake, and I felt the vibrations of the surrounding air. It was a strange sensation to shout as loud as possible and hear no sound issue from my mouth.
The Giralda, with its Moorish base and its Christian belfry, is a symbol of Andalusia. There is in the Ayuntamiento an old picture of the Minaret built by Djâbir the Moor, nearly one hundred feet shorter than the completed tower, but surmounted by a battlemented platform on which are huge brazen balls and an iron standard. These were overthrown by an earthquake, and later, when the discoveries of Christopher Columbus had poured unmeasured riches into Seville, the Chapter commissioned Hernan Ruiz to add a belfry to the Moorish base. Hernan Ruiz nearly ruined the mosque at Cordova, but here he was entirely successful. Indeed it is extraordinary that the two parts should be joined in such admirable harmony. It is impossible to give in words an idea of the slender grace of the Giralda, it does not look a thing of bricks and mortar, it is so straight and light that it reminds one vaguely of some beautiful human thing. The great height is astonishing, there is no buttress or projection to break the very long straight line as it rises, with a kind of breathless speed, to the belfry platform. And then the renaissance building begins, ascending still more, a sort of filigree work, excessively rich, and elegant beyond all praise. It is surmounted by a female figure of bronze, representing Faith and veering with every breeze, and the artist has surrounded his work with the motto: Nomen Domini Fortissima Turris.
But the older portion gains another charm from the Moorish windows that pierce it, one above the other, with horseshoe arches; and from the arabesque network with which the upper part is diapered, a brick trellis-work against the brick walls, of the most graceful and delicate intricacy. The Giralda is almost toylike in the daintiness of its decoration. Notwithstanding its great size it is a masterpiece of exquisite proportion. At night it stands out with strong lines against the bespangled sky, and the lights of the watchers give it a magic appearance of some lacelike tower of imagination; but on high festivals it is lit with countless lamps, and then, as Richard Ford puts it, hangs from the dark vault of heaven like a brilliant chandelier.
I looked down at Seville from above. A Spanish town wears always its most picturesque appearance thus seen, but it is never different; the patios glaring with whitewash, the roofs of brown and yellow tiles, and the narrow streets, winding in unexpected directions, narrower than ever from such a height and dark with shade, so that they seem black rivulets gliding stealthily through the whiteness. Looking at a northern city from a tall church tower all things are confused with one another, the slate roofs join together till it is like a huge uneven sea of grey; but in Seville the atmosphere is so limpid, the colour so brilliant, that every house is clearly separated from its neighbour, and sometimes there appears to be between them a preternatural distinctness. Each stands independently of any other; you might suppose yourself in a strange city of the Arabian Nights where a great population lived in houses crowded together, but invisibly, so that each person fancied himself in isolation.
Immediately below was the Cathedral and to remind you of Cordova, the Court of Oranges; but here was no sunny restfulness, nor old-world quiet. The Court is gloomy and dark, and the trim rows of orange-trees contrast oddly with the grey stone of the Cathedral, its huge porches, and the flamboyant exuberance of its decoration. The sun never shines in it and no fruit splash the dark foliage with gold. You do not think of the generations of priests who have wandered in it on the summer evenings, basking away their peaceful lives in the sunshine; but rather of the busy merchants who met there in the old days when it was still